Көркем өнерде стиль және оның түрлері

Visual appearance of a creative work, shared with other works of the same movement or school

In the visual arts, style is a " distinctive manner which permits the grouping of works into related categories" or " any distinctive, and therefore recognizable, way in which an act is performed or an artifact made or ought to be performed and made". Style refers to the visual appearance of a work of art that relates to other works with similar aesthetic roots, by the same artist, or from the same period, training, location, "school", art movement or archaeological culture: "The notion of style has long been historian's principal mode of classifying works of art". Style can be divided into the general style of a period, country or cultural group, group of artists or art movement, and the individual style of the artist within that group style. Divisions within both types of styles are often made, such as between "early", "middle" or "late". In some artists, such as Picasso for example, these divisions may be marked and easy to see; in others, they are more subtle. Style is seen as usually dynamic, in most periods always changing by a gradual process, though the speed of this varies greatly, from the very slow development in style typical of prehistoric art or Ancient Egyptian art to the rapid changes in Modern art styles. Style often develops in a series of jumps, with relatively sudden changes followed by periods of slower development. After dominating academic discussion in art history in the 19th and early 20th centuries, so called "style art history" has come under increasing attack in recent decades, and many art historians now prefer to avoid stylistic classifications where they can.

Any piece of art is in theory capable of being analysed in terms of style; neither periods nor artists can avoid having a style, except by complete incompetence, and conversely natural objects or sights cannot be said to have a style, as style only results from choices made by a maker. Whether the artist makes a conscious choice of style, or can identify his own style, hardly matters. Artists in recent developed societies tend to be highly conscious of their own style, arguably over conscious, whereas for earlier artists stylistic choices were probably "largely unselfconscious". Most stylistic periods are identified and defined later by art historians, but artists may choose to define and name their own style. The names of most older styles are the invention of art historians and would not have been understood by the practitioners of those styles. Some originated as terms of derision, including Gothic, Baroque, and Rococo. Cubism on the other hand was a conscious identification made by a few artists; the word itself seems to have originated with critics rather than painters, but was rapidly accepted by the artists. Western art, like that of some other cultures, most notably Chinese art, has a marked tendency to revive at intervals "classic" styles from the past. In critical analysis of the visual arts, the style of a work of art is typically treated as distinct from its iconography, which covers the subject and the content of the work, though for Jas Elsner this distinction is "not, of course, true in any actual example; but it has proved rhetorically extremely useful".

Traditional art history has also placed great emphasis on the individual style, sometimes called the signature style, of an artist: "the notion of personal style—that individuality can be uniquely expressed not only in the way an artist draws, but also in the stylistic quirks of an author's writing (for instance)— is perhaps an axiom of Western notions of identity". The identification of individual styles is especially important in the attribution of works to artists, which is a dominant factor in their valuation for the art market, above all for works in the Western tradition since the Renaissance. The identification of individual style in works is "essentially assigned to a group of specialists in the field known as connoisseurs", a group who centre in the art trade and museums, often with tensions between them and the community of academic art historians. The exercise of connoisseurship is largely a matter of subjective impressions that are hard to analyse, but also a matter of knowing details of technique and the "hand" of different artists. Giovanni Morelli (1816 – 1891) pioneered the systematic study of the scrutiny of diagnostic minor details that revealed artists' scarcely conscious shorthand and conventions for portraying, for example, ears or hands, in Western old master paintings. His techniques were adopted by Bernard Berenson and others, and have been applied to sculpture and many other types of art, for example by Sir John Beazley to Attic vase painting. Personal techniques can be important in analysing individual style. Though artists' training was before Modernism essentially imitative, relying on taught technical methods, whether learnt as an apprentice in a workshop or later as a student in an academy, there was always room for personal variation. The idea of technical "secrets" closely guarded by the master who developed them, is a long standing topos in art history from Vasari's probably mythical account of Jan van Eyck to the secretive habits of Georges Seurat. However the idea of personal style is certainly not limited to the Western tradition. In Chinese art it is just as deeply held, but traditionally regarded as a factor in the appreciation of some types of art, above all calligraphy and literati painting, but not others, such as Chinese porcelain; a distinction also often seen in the so called decorative arts in the West. Chinese painting also allowed for the expression of political and social views by the artist a good deal earlier than is normally detected in the West. Calligraphy, also regarded as a fine art in the Islamic world and East Asia, brings a new area within the ambit of personal style; the ideal of Western calligraphy tends to be to suppress individual style, while graphology, which relies upon it, regards itself as a science. The painter Edward Edwards said in his Anecdotes of Painters (1808): "Mr. Gainsborough's manner of penciling was so peculiar to himself, that his work needed no signature". Examples of strongly individual styles include: the Cubist art of Pablo Picasso, the Pop Art style of Andy Warhol, Impressionist style of Vincent Van Gogh, Drip Painting by Jackson Pollock

"Manner" is a related term, often used for what is in effect a sub division of a style, perhaps focused on particular points of style or technique. While many elements of period style can be reduced to characteristic forms or shapes, that can adequately be represented in simple line drawn diagrams, "manner" is more often used to mean the overall style and atmosphere of a work, especially complex works such as paintings, that cannot so easily be subject to precise analysis. It is a somewhat outdated term in academic art history, avoided because it is imprecise. When used it is often in the context of imitations of the individual style of an artist, and it is one of the hierarchy of discreet or diplomatic terms used in the art trade for the relationship between a work for sale and that of a well known artist, with "Manner of Rembrandt" suggesting a distanced relationship between the style of the work and Rembrandt's own style. The "Explanation of Cataloguing Practice" of the auctioneers Christie's' explains that "Manner of " in their auction catalogues means "In our opinion a work executed in the artist's style but of a later date". Mannerism, derived from the Italian maniera ("manner") is a specific phase of the general Renaissance style, but "manner" can be used very widely.

In archaeology, despite modern techniques like radiocarbon dating, period or cultural style remains a crucial tool in the identification and dating not only of works of art but all classes of archaeological artefact, including purely functional ones (ignoring the question of whether purely functional artefacts exist). The identification of individual styles of artists or artisans has also been proposed in some cases even for remote periods such as the Ice Age art of the European Upper Paleolithic. As in art history, formal analysis of the morphology (shape) of individual artefacts is the starting point. This is used to construct typologies for different types of artefacts, and by the technique of seriation a relative dating based on style for a site or group of sites is achieved where scientific absolute dating techniques cannot be used, in particular where only stone, ceramic or metal artefacts or remains are available, which is often the case. Sherds of pottery are often very numerous in sites from many cultures and periods, and even small pieces may be confidently dated by their style. In contrast to recent trends in academic art history, the succession of schools of archaeological theory in the last century, from culture historical archaeology to processual archaeology and finally the rise of post processual archaeology in recent decades has not significantly reduced the importance of the study of style in archaeology, as a basis for classifying objects before further interpretation.

Stylization and stylized (or stylisation and stylised in (non Oxford) British English, respectively) have a more specific meaning, referring to visual depictions that use simplified ways of representing objects or scenes that do not attempt a full, precise and accurate representation of their visual appearance (mimesis or "realistic"), preferring an attractive or expressive overall depiction. More technically, it has been defined as "the decorative generalization of figures and objects by means of various conventional techniques, including the simplification of line, form, and relationships of space and color", and observed that "[s]tylized art reduces visual perception to constructs of pattern in line, surface elaboration and flattened space". Ancient, traditional, and modern art, as well as popular forms such as cartoons or animation very often use stylized representations, so for example The Simpsons use highly stylized depictions, as does traditional African art. The two Picasso paintings illustrated at the top of this page show a movement to a more stylized representation of the human figure within the painter's style, and the Uffington White Horse is an example of a highly stylized prehistoric depiction of a horse. Motifs in the decorative arts such as the palmette or arabesque are often highly stylized versions of the parts of plants. Even in art that is in general attempting mimesis or "realism", a degree of stylization is very often found in details, and especially figures or other features at a small scale, such as people or trees etc. in the distant background even of a large work. But this is not stylization intended to be noticed by the viewer, except on close examination. Drawings, modelli, and other sketches not intended as finished works for sale will also very often stylize. "Stylized" may mean the adoption of any style in any context, and in American English is often used for the typographic style of names, as in "AT&T is also stylized as ATT and at&t": this is a specific usage that seems to have escaped dictionaries, although it is a small extension of existing other senses of the word.

In a 2012 experiment at Lawrence Technological University in Michigan, a computer analysed approximately 1,000 paintings from 34 well known artists using a specially developed algorithm and placed them in similar style categories to human art historians. The analysis involved the sampling of more than 4,000 visual features per work of art. Apps such as Deep Art Effects can turn photos into art like images claimed to be in the style of painters such as Van Gogh. With the development of sophisticated text to image AI art software, using specifiable art styles has become a widespread tool in the 2020s.